Industrial Booom – ReBoot Festival is one event we were definitely eager to attend. To begin with, we are always happy to see the scene evolve and manifest itself in our part of Europe, and the scene of Budapest, especially after last year’s Industrial Booom, was something we were curious to check out. Then this year’s lineup screamed thrill coming our way, and we could not resist it. Guided and welcomed by the extremely helpful and accommodating professionals who organized the Budapest event, Black Head Agency, we attended Industrial Booom – ReBoot Festival in Budapest, Hungary, between Apr-27 and Apr-29 and were simply thrilled. Our thanks go to the organizers, to the nice emerging dark scene of Budapest, and needless to say, to the artists who gave their best on the stage of Barba Negra Music Club, a truly great venue, with everything from a VIP lounge to a kitchen, as well as a great stage and sound system, a welcoming concert hall, and a smoking ban that was appreciated even by smokers.

The event lasted for three days, and each day was given a special name to accommodate the genres and acts who were performing. The first day, Fri, Apr-27, entitled Mechanix Day, was the day in which First Aid 4 Souls, Decoded Feedback, Haujobb, The Neon Judgement, 32Crash and Project Pitchfork went up on stage. Then on the second day, Sat, Apr-28, we witnessed the Electronic Body Day, with acts such as Escalator, Absolute Body Control, Klutae, Spetsnaz, Front 242, and The Juggernauts. Finally, the Dark Side Day, on Sun, Apr-29, meant incredibly good performances from The Arch, Sonar, Dance or Die, In Strict Confidence, Clan of Xymox, and Diary of Dreams. Belgium was the most represented country if you think of the nationalities of bands, with seven acts, closely followed by Germany with five. Local acts from Hungary, two of them, as well as acts from Canada, Denmark, Sweden and the Netherlands, one each, completed the beautiful and clever lineup of the festival.

Detailed festival concert reviews illustrated with event photography can be accessed below by scrolling or by clicking on the days and act names from their respective menus.

About: First Aid 4 Souls was started as a project only some years ago, but the group really has quite a long past. It is the practical successor of the band Vacuum, which was started in 1992. Vacuum became one of the most significant bands in the Hungarian industrial music scene, having performed countless concerts in Hungary. There are distinct religious, philosophical and magical traditions making appearances in their themes. They are constantly moving toward the essence behind this existence believed to be reality.

Performance: The show put up by First Aid 4 Souls was energetic and really did not need too much encouragement in order to go off. Just the first signs of action on stage were enough in order to catalyze a crowd in front of the stage, and within minutes it was unclear whether the band get their energy from the crowd, or viceversa – either way the outcome was a feel good atmosphere with intricate electro and industrial hues, which hailed many, and was welcomed by the first dance moves. Their show of lights and visuals was amazing – closeups on piercing eyes, facial morphs, radar scans, melting scenery. “Agony” stayed in our ears and hearts way after the show and it’s definitely on our playlist for our next party or radio show! Go back to top

About: Decoded Feedback burst on to the industrial scene in the mid 1990s with the highly acclaimed self-titled demo tape “Decoded Feedback”. This creative duo brought together all the elements and contrasts that exist between the sexes, and at the same time using their diverse backgrounds, European and Canadian, to successfully create their own unique sound. Decoded Feedback are a festival darling, and have toured extensively North America and Europe having performed several times with the likes of Covenant and God Module.

Performance: Engaging and alluring sounds signed on with the first Decoded Feedback song of the evening. Just like their stage predecessors, they chose very eye-catching visuals to accompany their show, rendering a deepening effect to the vocals and to the mesmerizing synth. Very communicative with their audience, and decoding the feedback of the latter into escalating electro anthems, Decoded Feedback proved that crystal-clear synth and piercing vocals are a killer recipe. If their music is unknown to you, think of a mash-up of Seabound, Project Pitchfork and In Strict Confidence, with a pleasing personality and a very attuned feel on top of it. “Do You See” was a magical addition to their playlist, as was “Bio Vital”. A new song from their forthcoming album, entitled “Mescaline” was equally liked by their eager audience. Go back to top

About: Not the oldest, but certainly one of the cleverest projects borne by Daniel Myer, the industrial/electro combo of Haujobb is an inspiring presence on the musical scene, and a must-have of festivals in 2012. With an almost unanimously positively reviewed new album, and a panoramic view from the front of scene, Haujobb are as young as ever in 2012, and as enticing. The music of Haujobb is not only reflexive on the heavily beaten track of sentiment, but also in the kind of philosophical outlook they provoke, simply by alluding to it. Their “New World March” speaks equally of a world torn by its ambition and of current affairs ranging from Occupy movements and the unrelenting economic crisis.

Performance: The alarming beginning of the Haujobb show with their end-of-the-world clamor and genuine virtuosity was as expected, amazing. Their show lasted about one hour and not at a single moment was it felt as if their enthusiasm were fading out or their empathy ceased to deliver their message. The sounds were truly to the taste of the audience, who empathized equally with the band’s performance. Both at micro and macro levels their efforts to convey the message of “manipulating the pulse, the pattern, the rhythm”, as the lyrics of “Dead Market” go. Inviting people to dance, and reminding them of the great atmosphere Daniel Myer felt during the last year’s Covenant concert from the previous year, they rounded up a great show experience with help from killer tracks such as “Letting the Demons Sleep”, “Let’s Drop Bombs” but also classics such as “Eye Over You”. Go back to top

About: “Time can have a strange effect on music. It puts certain aspects in perspective and makes others redundant. Things that are important at first, no longer matter over the years, while superficial details seem to become more valuable. Enter The Neon Judgement. Dirk Da Davo’s and TB Frank’s band certainly has been affected by this double time-effect. Although these Belgian Leuven-based musicians have often been considered the founding fathers of EBM, the high-tech genre form the early 1980’s, combining industrial and electro music, from which later originated new beat and techno” (source: band site). The Neon Judgement‘s 30+ year long history is one that speaks elegantly and profusively about dedication to music. It is rare that from the standpoint of genre, a band should adopt, cultivate, assimilate, adapt, and deepen the meaning of a sole genre. Of course, limitless influences loom in any dramatic feat of our postmodern times; however, their resolve in pursuing already classical EBM throughout their career makes a contemporary performance by The Neon Judgement a feast for the ears of the advised listener.

Performance: The classy sound of The Neon Judgement soared and everyone was at their call. The show debuted at an alert pace, but though they were the first EBM per se act of the evening, they insinuated slowly but surely in the night’s menu as a very plausible and why not enjoyable stage presence. While their play with sound violence and harmony at the same time sounded novel to us, due to the fact that they were familiar to us only via some Youtube footage, we quickly became entangled in their precision and richness of sound. Massively entertaining, their electro space cowboy creed was rewarded with showers of applause and cheering. Go back to top

About: The imaginarium of 32Crash is splendidly described in their own bio: taking the standpoint of year 2127, in a world unlike the one we are currently inhabiting, the post-apocalypse is livable, but rich with content and open to the spiritual: “Universal archetypes such as demons, angels, ancient divinities, and even sometimes abstract shapes and symbols, supposedly emerging from other dimensions, often and suddenly appear in front of individuals or large crowds, sometimes requiring submission and conversion, sometimes only hovering in the air before fading away.” With extra credibility due to the musical past of its members (Len Lemeire and Jan D’Hooghe come from Implant, while Jean-Luc De Meyer comes from Front 242), 32Crash offer a new perspective on the world we could be living in – or we might live in if many of our superstitions, science-fiction imageries turned up to be true in their flesh. With an astonishing EP (“Humanity“) and an album exceeding the already high expectations set by its predecessor (“Weird News from an Uncertain Future“) their music stands out as unique, inspired and really engaging.

Performance: The emerging storm of sound started off by 32Crash was a well-timed addition to the lineup of the Mechanix Day, also known as the first day of the Industrial Booom – Reboot Festival. Picking up the cues from where The Neon Judgement left off, they continued the refined entertainment of their predecessors on stage in a manner that was tell-tale at the same time of hard-boiled energy and barely contained enthusiasm. Hued eloquently with darkness in a landscape of large-scale, effervescent electro, the show of 32Crash meant the undisputed confirmation from the audience of the commitment of the local scene to EBM of Belgian origin. With “What Happened Here”, as well as “Fast Crash”, song which concluded their set, they won our hearts as well! Go back to top

About: The notion of dark electro becomes almost synonymous to the music of Project Pitchfork: for this, you have both fans and artists to pledge their course of music is indeed the must-have of any dark electro party, compilation, or source upon which to drill in or der to grasp the right vibes and right wording. Project Pitchfork is not only one of the veterans of electro and industrial scenes, but also an act of very fecund composition, which, tirelessly, have accumulated over the years into a compendium of music and emotion. Project Pitchfork needs little if any introduction. We had the immense pleasure and honor to be their hosts in 2011, during our latest Darkwave.ro fest; and their presence, both behind and on the scene was a lesson to be learned: of their professionalism, of their almost juvenile enthusiasm over making and performing music, and what is more, because of their well-rounded stage experience, will always perform DVD worthy shows, unique and memorable.

Performance: The eventually mesmerizing show from Project Pitchfork was, as expected, among the most popular shows of the night, even if there was nothing spectacular about it, just a regular, flawless performance, only this time in a new city on their map, Budapest. Wildly ovationed, Project Pitchfork rewarded their audience with “Timekiller“, extending the feel good perimeter of the show exponentially. Flooded by generous dark electro sounds in a very volatile, but expressive atmosphere, their show advanced with major landmarks of their career, alternating between the old and the new, between the tragic and the voluntarily self-effacing clownish, with “Continuum”, “K.N.K.A.”, but also with “The Queen of Time and Space” and “The Dividing Line”. Major hits with the audience also were “Steel Rose” and “Beholder”, while “Fire and Ice” as well as “Freeze in Silence” were accompanied by what was, we knew by that time, the most frantic audience of the evening. Go back to top

About: Escalator was created by 2rt+TB, a Budapest born computer-addicted youth in 1988, by the inspiration of the music of Kraftwerk. 2rt+TB later realized that the numbers are beyond the human and everything created by the human race. Since 1988 several musicians helped 2rt+TB on the stage, among them Igor404 performed several times in live. Escalator is about the evolution, where the humans are between the animals and the software (source: band Facebook page).

Performance: The signature style of Escalator flooded Barba Negra Music Club in the beginning of the second day of Industrial Booom – Reboot Festival, devoted to electronic body music. Very well cadenced and unapologetically schematic, their show rendered everyone enthusiastic the audience and set a very high standard to the pace of the entire festival day. Their convulsing beats, coupled with head scan visuals and the escalating vocals, at times redolent of Agonoize, provoked a dance of brimstone and fire and kept the audience enthralled for the whole duration of their show. The electronic component of their music was thoroughly engaging and for the newcomer to the world of Escalator, it was a welcoming and thorough induction. “Shut Me Off” is a song we definitely took home with us! Go back to top

About: Belgian project Absolute Body Control is an electronic music. The electronic beats of Absolute Body Control find their accurate description in the band’s name. Powered alongside Eric Van Wonterghem by Dirk Ivens of The Klinik, Dive and Sonar), the band hail back from the late 1970’s – and are still up to the challenge of transgressing boundaries, influencing trends, and re-establishing genre definitions.

Performance: The victorious music of Absolute Body Control blared messages of alienation and momentary comfort of closeness, about how easy it is to lose touch and connect on arbitrary grounds, all in an immensely fascinating EBM set conducted and performed by the charisma of Dirk Ivens. Their captivating music was diverse, thoroughly emotional and topped with adrenaline. A great occasion to take a big bite of the tastiness of their world, their show was particularly engaging and ripe. Balancing wisely between crowd pleasers and more intense and cerebral pieces, the show was truly appreciated by the fans as well as by the newcomers to the world of Absolute Body Control. “Melting Away” was utterly emotional, and “Warm Leatherette” qualifies for one of the sexiest songs of the scene. Go back to top

About: Claus Larsen launched this solo-project in the early 1990’s under the name Klute, but later changed its spelling to Klutae in order to avoid any further confusion with a totally unrelated project. Klutae‘s first releases showcased a rather heavy and turbo-driven guitar-oriented sound which brought him comparisons to metal-industrial acts like Fear Factory, Bile and SwampTerrorist, yet Claus Larsen has always considered this project as his most eclectic and unpredictable outlet.

Performance: The awesome, energetic show of Klutae is probably the best thought of addition to the festival lineup and layout. Even if their fame is not of the same caliber as other festival acts, and definitely it’s a side of Claus Larsen less popular than Leaethestrip, they were utterly convincing and consuming at a steady fire. However intrusive and denuding their music sounds at first, the blast is guaranteed, and, what’s more, trying and hypnotic, with effects you would reasonably expect from someone with such a huge and diverse stage experience. Controlling sound at the minutest of detail, and supplementing pertinently with really irreverently beautiful vocals, the show of Klutae shows, if there was need to, that the choice of topic and musical representation cannot go amiss if you go about it passionately, and that’s definitely something Klutae show no shortcoming of. Particularly wild and unsentimentally so, their music spoke with defiance about how diverse, in fact, human experience is, and will be, as long as music will be around to help us express it significantly, and that is, forever. “No More Suffering”, as well as “Long Live EBM” were great additions to the show, while we ourselves discovered great songs such as “Stagnant Water” and “Nose Candy” which we enjoyed immensely. Go back to top

About: The hard hitting EBM duo Spetsnaz was formed in Oerebro, Sweden in the autumn of 2001 by Stefan Nilsson and Pontus Stalberg. With powerful vocals, frenetic pounding bass lines and a relentless rhythmic assault, Spetsnaz has the aggression and the melody to be the missing link between the heavy scene and the pop scene. Inspired by pioneering artists like Nitzer Ebb, Front 242, Die Krupps, and DAF, the duo started to work in their own studio and after a few months, the first four-song-demo was presented to Swedish labels and promoters. At the same time, Spetsnaz performed live in some of the major cities of Germany and Sweden, including Gothenburg and the Scandinavian Alternative Music Awards (SAMA).

Performance: The show of Spetsnaz was able to dominate the audience within seconds of their coming on stage. A very impetuous and convincing stage presence, Spetsnaz created a very plausible motion within the crowd, which, by the way, with a band like The Prodigy on stage during the same night in a different venue, was really numerous. Engaging, daring, with musical flourishes that made their EBM even more potent, as well as with their no denominational military style, Spetsnaz managed to entertain at a constant pace and make the venue pound with the hundreds of people dancing in the venue. “Apathy” was anthemic and a crucial addition to their playlist, and a boiling point, too, for the ones who were still on the side, pondering skeptically about their music. Go back to top

About: Front 242 was created in 1981 in Aarschot, near Brussels, Belgium by Daniel Bressanutti and Dirk Bergen, who wanted to create music and graphic design using emerging electronic tools. Although some members now claim that the name does not have a particular meaning, in an early ’90s interview on Dutch TV, Daniel Bressanutti said that the ‘242’ part comes from him swearing ‘242!’ instead of ‘damn!’ when he was young. Front 242 grew to become one of the most influential acts of EBM, with a numerous following, and also a great deal of artists who recognize their looming presence over their work.

Performance: Setting on stage in complete darkness with violins and cello, Front 242 gathered applause before transforming their overture into an electro industrial concert of contrasts, not against the odds of qualifying for the most musically diverse show of the festival. Their delayed and beguiling beginning of fully fledged EBM grandeur was quickly paid for in full with a captivating, 100% genuine feel show, the qualitative triumph of which was guaranteed. Less relying on visuals, but outperforming with polyvalent instrument and classy vocals, Front 242 managed to keep their audience steady and about dancing for the entire duration of their show. What embellished the most their show was the profound quality of stage theatrics, you could have sworn that it was directed by a major name; from the members’ positions on stage to the selective lighting and from the voice effects to their choice of setlist, everything lead to the conclusion that the experience and passion Front 242 pour into their shows reaches dramatic proportions. “No Shuffle”, “Spacemen and Poets”, “Moldavia” and “Headhunter” were wildly applauded and summoned everyone to dance. The fact that they were eagerly awaited by their dedicated audience was obvious to everyone as toward the end of the show, before the encore, the audience raised A4 sheets of paper with digits 2, 4, and again 2 in large numbers. It should also be noted that they also were, if not for the entire duration of the festival, at least for the night, one of the bands whose insignia were the best represented on the t-shirts of festival fans. Go back to top

About: The Juggernauts saw the light of day late 2010 when Borg (The Klinik, ex-Vomito Negro) and Glenn (Radical G.) both met at a The Neon Judgement concert. A couple of days later the two teamed up at Radical G.’s home studio and only a few hours later their first song ‘Phoenix‘ was already blasting from the studio speakers. The track was picked up almost immediately by one of Germany’s leading labels Out Of Line, and was featured on their ‘Awake The Machines 7‘ compilation album in July 2011 (source: band Facebook page).

Performance: The closing set put up by The Jaggernauts was a definite thrill adding up to an already blatantly energetic evening. EBM with futuristic thrill was the recipe adopted by this young group, and it did not go amiss with the audience. Donning spacesuits and resorting liberally to lights, they were able to undertake the difficult task of keeping ears pricked and feet dancing after legendary Front 242 were on stage. What they could not offer in terms of diversity, they offered in their easy-going attitude, confessing that their Budapest date is only their second show, and unlike their first one, which, they say, was not so great, they expected this to be better. We do not say this in terms of a comparison, but the effect of The Juggernauts was pervasive and lasting, and we are not the only ones to have loved their show! Go back to top

About: Back in the eighties, in a small village called Breendonk, a group of young people tried a new direction with a combination of samples, synths and guitars: The Arch, a four piece, was formed in mid 1986. Their music can be described as a cross between electronic body music and guitar rock with each instrument maintaining its individual sound. In 2011 a new album entitled “Engine in Void” was released via Echozone in which the band demonstrate and celebrate their very own and individual style of electronic based wave/post-punk and indie-electro music. The Arch are back with a powerful, emotional, dark and atmospheric album which sets standards – and not only for themselves.(source: band Facebook page).

Performance: The first show of the third and evening of Industrial Booom – ReBoot Festival, devoted to the dark side was ensured by The Arch, who irrupted on stage and took over the venue with a dark, new wave feel, with incandescent instrumental and vocal casting. Feeling at times like having the best of times at a rock concert, and at other times like edging on the darkest side of electronic music, the music of The Arch soaks one in all possible states, and is really entertaining in that it keeps the audience captive and expecting for the band’s next move, while the band slyly move from one musical representation to the next with utmost ease and zest. Go back to top

About: Sonar are Dirk Ivens (of Dive, Absolute Body Control, Klinik) and Eric van Wonterghem (Monolith, Absolute Body Control, Insekt, Klinik), with the aim to create rhythmical noise and dark soundscapes. A combination between analogue and digital instruments, the rhythms remind to working machines, the soundscapes to droning planes. The sound of Sonar is made to make you move in another way, to tune you into a hypnotic beat. Sonar is looking for a definition of danceable industrial and tries to discover this by controlling electronic devices. Headcrushing releases alternated with a U.S tour with Noisex and Holocaust Theory, another U.S tour with Converter, a European tour with Black Lung, a Benelux tour with Electronicat, followed by gigs on several festivals with highlights like Pfingster Wave Treffen , Dour, M’era Luna, EuroRock and Infest has proved the potential of the band. (source: band page)

Performance: The project Sonar altered significantly the atmosphere in Barba Negra Music Club once they got on stage. With two facing synth lecterns and an accompanying droning sound, Sonar managed to raise the acumen and get people dancing within seconds. Their set was particularly entertaining and animated greatly the crowd. Spectral visuals vied with the show of two men the competing sounds of which blared and stomped, while the tireless EBM-scented delirium escalated. Not all elements of Sonar are a predefined set, most of the harmonies they create are thought up and teamed up by Dirk and Eric directly on stage, in an improvisation process that leaves room for surprising proofs of fruitful collaboration even for the band themselves, though from the audience’s perspective, were this thing unknown as it must have been for at least the newcomers to the world of Sonar, the show in itself must have sounded like a majestic and well timed production. Go back to top

About: Dance or Die has been for the last 20+ years a striking band and brand for the dark electronic scene, and even today, speaks to an always larger spectrum of music fans. Not only is their sound engineered to perfection, but is also accompanied by conceptually sophisticated lyrics. 2011 meant the revival of the large scale stage performances of Dance or Die. With WGT, and shortly next in 2012 E-only, Out of Line Weekender, Industrial Booom and Nocturnal Culture Nights, Dance or Die are hitting again the masses with their diligent and cerebral EBM.

Performance: Dance or Die are an amazing stage presence, and they are born entertainers. Not only have they known how to animate a crowd, but also they are having the time of their lives on stage. Their grandiose sounds take over; their repeated invitations to dance are obeyed to tacitly and efficiently, while their choice of a setlist was perfect: tantalizing sounds, sharp edges, very convincing vocals – these were some of the key aspects of their show. They rely less on visuals and lights – thus emphasizing the extra value of the show of sounds, the one that was really appreciated by the audience and rewarded with dancing. “Fire” and “Minute Man” were incredibly good dance starters, and despite the awesome acts that were waiting in line to get on stage, it looked like the audience were trying to consume all the energy they got on themselves right then! Go back to top

About: In Strict Confidence have been around for a long time, and they do not lay down their arms when it comes to further stimulating and exploiting their creativity. With a patent sound and with minuscule and delicate mythologies in each of their songs, In Strict Confidence, whom Viva Music invited for the first Darkwave.ro festival in 2009, are true artists, with a very valid creed and with invaluable inspiration. The interplay between suave and aggressive music makes In Strict Confidence a valuable asset on today’s scene. With their 20+ years in music, In Strict Confidence appear as ageless as in their youth, and as enthusiasitc. Each of their performances is a feast combining their early years and their most recent, in a mix that never seems out of line, but instead, truly coherent and attractive.

Performance: The sounds of Parade Monstrueuse announced the beginning of the amazing In Strict Confidence show. Impressive stage layout and visuals accompanied the storming in with the heart-rending lyrics of “My Despair”, and continuing with the sizzling, sexy, “Promised Land”. With Sunday best vocals from Dennis Ostermann and Nina de Lianin, the latter adding to the show her signature dance moves, the show of In Strict Confidence, which also included “Seven Lives”, “This Is All”, “Forbidden Fruit” and “Set Me Free”, meant a 360 degree overview of their career with eloquently set gems, such as “Away from Here” and “Closing Eyes”, but also with eternal loves such as “Silver Bullets” and classics such as “Zauberschloss” and “Engelstaub”. The final dance from Nina and HayDee with vying swan moves was a touching addition to one of the best In Strict Confidence shows we’ve ever seen. Chapeau, In Strict Confidence! Go back to top

About: An impressive 26 years have passed since the founding of Clan of Xymox, a period being revisited on the new album and leading to ten modern Dark Wave classics ready to be instantly introduced into the canon of gloomy music. “Darkest Hour” is music for the night, is music for life and for death, is music for eternity. The track “In Your Arms Again”, excerpted from their latest album, “Darkest Hour” was featured in David Ficher’s box-office “The Girl with the Dragon Tattoo” alongside the musical creations of Trent Reznor, Brian Ferry, Enya, and so on.

Performance: What Clan of Xymox amount to on stage is a legendary show. They are incredibly well-concerted musicians, and despite their being static on stage, they managed to provoke and animate greatly their audience, calculating wisely checkpoints in the show. While their devotion to the clarity and eloquence of the sound of Clan of Xymox is undeniable, it was an awesome experience to see that their Budapest audience separated into two crowds, the ones who contemplated them in almost complete immobility, and the ones who danced wildly. They were sufficiently communicative with their public, and they probed their likes in order to move forward with the show. At times rabid and at other times emotional, they performed a great show and definitely one that will most certainly stay in the hearts and the minds of participants. “Louise” as well as “Hail Mary” definitely scored with the audience, while “A Day” ranges among the best tunes we’ve heard on the stage of Barba Negra Music Club. Go back to top

About: Quoting among their sources of inspiration “Literature, movies, art, noise, silence and dreams and anything else that is strong enough to leave an impact on us”, Diary of Dreams have left an indelible mark on today’s electro, gothic and darkwave scenes through their unmistakable optics and their dedication to quality musicianship. There are a few acts on today’s scene that can equal their score of albums, live performances, media presence and that is because throughout their career, they have pursued a very efficient recipe: be who you are, and don’t be afraid to share your dark secrets with anyone, especially through music. We have had the immense opportunity and honor to see a 360 degree of Diary of Dreams performance as organizers, fans and friends during our 2009 Darkwave.ro festival. Their time before the festival, and their course afterwards touch a similar chord in us: their music elates, and has that serene and ethereal quality you expect from music dictated from the most uncomplicated realm of our lives: dreams.

Performance: The show of Diary of Dreams got the attention deserved by a much awaited headliner, and was as meant to be the majestic closing of the night, and of the festival. An extended set was a great opportunity for the audience to be immersed in the dark waters of Diary of Dreams and be exposed to a wide array of emotional landscapes, such as the ones Diary of Dreams usually please their audiences with. Their show combined essentially songs from their entire career and made a very good deal with the audience, who were extremely reverential to the band. Much awaited songs such as “The Wedding” or “Butterfly:Dance!” blended harmoniously with “Mensch:Feind” or “Undividable”, while heavy artillery tracks such as “The Curse”, “Kindrom” or “Chemicals” helped rounding up the needed acumen and warm feeling inside a very commonsensical performance leave with you. Go back to top